See You Next Wednesday
Thursday, May 10
 
Old news. (I've been slack.)

I ran my monthly Dungeons and Dragons game on Saturday with a streamlined combat system and improved character immersion. Unluckily for proving the new order there was no combat. (Well, there was an illusion which attracted a few smacks and a spell, but it was not really a combat.) However there was more and better immersion, I thought. It waned in the afternoon as we slipped back into old habits, but overall it was greatly improved and I enjoyed the game more than I have in recent months.
After Vanda resolved a brief encounter with inclement weather and Jasoft returned from the tavern, Stoney led the Dangerous Wayfarers into Harstelmin and proceeded to circumvent my malevolent design. They plunged directly to the third level of the mine and called for parley at the first sign of an encounter. Although the sign was a bristling fortification it was also, by chance, one of the two locations where there was someone who didn’t have orders to shoot intruders on sight. Then, despite her general gruffness and specific disrespect for gnomes, Sonja’s petition received a favourable reaction and the adventure was resolved with amiable conversation. The party returned to Victoria several days before Sandor was expecting to even hear from them, which was nice.

Poor Cookie.

The Cookie Monster rewrote the tatty script. Now it is legible and the new paper napkins are mostly within the margins of the old script. However it is still a crap script and a fire hazard.
Meanwhile, Dr Bunsen-Honeydew has given Beaker a script writing formula so now it lines up neatly and you can tell the dialogue from the stage directions. Also, his new script is written on unrumpled paper in neat joined-up writing and is not at all a fire hazard. All he needs now is a joke writing formula.
 
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This may not sound like the snappiest line from 2001: A Space Odyssey (1968), but it evidently caught the imagination of John Landis, who has worked references to a mythical film of this name into most of his own movies - memorably as the grotty British skinflick watched by an assortment of lycanthropes and zombies in the climax of An American Werewolf in Paris [sic] (1981). Ghastly Beyond Belief, Neil Gaiman and Kim Newman

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